Multi-Dimensional – Detroit’s Carter Erickson Straddles 2 Creative Worlds on New ‘Columbia’ EP

Carter Erickson performs at a MusicTown Detroit open mic night.

As an emerging hip-hop artist, Carter Erickson travels between two different creative dimensions – Detroit and Columbia.

In Detroit, he combines catchy beats, raps and melodies with personal experiences to share with growing crowds at open mic nights and DIY shows.

In Columbia, Erickson becomes the main character, Booker DeWitt, from the “BioShock Infinite” video game and battles racism and elitism in the namesake fictional dystopian society.

Together, those two creative dimensions lay the foundation for Erickson’s latest EP, “Columbia,” an immersive six-track hip-hop, role-playing game-like (RPG) experience that dropped last week on all major streaming platforms.

“These songs are based on real-life experiences that I’ve had, but they also coincide with certain elements of the game,” said Erickson, aka Eric Carter. “When you play the game, you don’t know what the character looks like because it’s first-person. For me, this EP is more about how I felt playing this character.”

Downloading ‘Columbia’

Columbia EP

Immersed in his musical RPG world, Erickson takes Booker DeWitt to another level on “Vanishing Point,” the first sci-fi, synth-filled single from “Columbia.” He combines Booker DeWitt’s persona with Kowalski, the main character from the 1971 cult car film, “Vanishing Point.”

“They both feature two guys who have nothing to lose and are working toward this goal. All in all, they both don’t get there,” he said. “At the end of ‘Vanishing Point,’ the main character needs to get to California by 3 p.m., and he’s got this beautiful 1970 Dodge Challenger. In ‘BioShock Infinite,’ a guy has  been tasked with trying to find a woman’s father. He eventually learns he’s her father, but in a different universe.”

Erickson’s sonic travels continue through “The Handbook” and “Cha$e” and allow listeners to draw deeper parallels between his personal experiences and “BioShock Infinite.”

On “The Handbook,” Erickson introduces a slow, introspective jam about how actions have consequences, whether good or bad. “I thought it was something everyone could relate to cause as humans we all have run ‘what-if’ scenarios through our heads regarding one thing or another, and sometimes the perpetual regret we live with and/or die with no matter the outcome we choose.”

For the “Cha$e,” Erickson opens the EP’s closing drack with deep synth beats reminiscent of early ‘80s Atari music. The track was influenced by an earlier portion of the “BioShock” video game series that intersected with Erickson’s life.

“When I first played it, it was almost like a ‘blink and you’ll miss it’ kind of moment, which is wherein it intersects with life. You know, one day you’re eating cereal watching Saturday morning cartoons, and the next thing you know, you’re graduating high school and/or college, and then life pretty much happens,” he said.

“When I wrote ‘Cha$e,’ I wanted to define this same approach with the harsh instrumental, but the lyrics sort of glide over it, and this is like a metaphor for life and people. Meaning, life can be tough, but as long as you keep a positive outlook, everything will be OK.”

Continue reading “Multi-Dimensional – Detroit’s Carter Erickson Straddles 2 Creative Worlds on New ‘Columbia’ EP”

Buzzworthy — Honey Monsoon Drenches Detroit in Jazz-inspired Indie Rock

Honey Monsoon at Ann Arbor’s Om of Medicine in February. Top row from left: Taylor Greenhields, Ana Gomulka and Ian Griffiths. Bottom row from left: Andrea Holther-Cruz and Leo James Willer.
For Honey Monsoon, the sweet sounds of jazz-inspired indie rock, neo soul and funk are dripping heavily throughout metro Detroit’s music scene.

The Detroit-based quintet are spreading the nectar of the Motor City’s burgeoning jazz indie rock scene at clubs like The Blind Pig and Om of Medicine in Ann Arbor, The Loving Touch in Ferndale, the Plymouth Roc in Plymouth, the Tangent Gallery in Detroit and The Loft in Lansing.

Together, Ana Gomulka (music, lyrics, vocals, guitar and keys), Taylor Greenshields (drums and percussion), Ian Griffiths (bass and vocals), Andrea Holther-Cruz (keys and vocals) and Leo James Willer (live painting) are introducing their talents to a growing Motor City audience.

Gomulka attributes the band’s smooth sound to their longtime love of past and present jazz, soul and funk singers and musicians, including Esperanza Spalding, Sharon Jones, Kneebody and Hiatus Kaiyote.

“When we first started this band, I don’t think any of us were like let’s make jazzy music. When I was young, I grew up listening to Ella Fitzgerald and Sarah Vaughan because that’s what my parents played,” she said. “So when I sang people would be like, ‘Oh you sound like Sarah Vaughan or something like that.’ I was like, ‘Oh, I wasn’t even trying to sound like her.’ I think that’s where our jazzy sound comes from. It’s just what comes out.”

Continue reading “Buzzworthy — Honey Monsoon Drenches Detroit in Jazz-inspired Indie Rock”